Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Marshall Islands and from Tehran.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1971.
I'm losing my edge.
To all the kids in Lagos and Lagos.
I'm losing my edge to the art-school Toronto kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Funkadelic to the techno kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Pantaleimon. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Matthew Halsall,
The Monks,
Unrelated Segments,
Stetsasonic,
Soft Machine,
Roger Hodgson,
In Retrospect,
Drive Like Jehu,
ABBA,
Con Funk Shun,
Beasts of Bourbon,
Todd Rundgren,
The Shadows of Knight,
Arthur Verocai,
Scientists,
Bootsy's Rubber Band,
Average White Band,
Black Bananas,
The Barracudas,
The Fugs,
The Jesus and Mary Chain,
Robert Görl,
Avey Tare's Slasher Flicks,
Lee Hazlewood,
The Motions,
Aloha Tigers,
Marc Romboy vs. Booka Shade,
The Techniques,
Soul II Soul,
Bang On A Can,
Traffic Nightmare,
The Invisible,
Kayak,
The Trojans,
Rod Modell,
Gil Scott-Heron and Jamie xx,
Man Eating Sloth,
Peter & Gordon,
Crispy Ambulance,
Connie Case,
Main Source,
Grandmaster Flash and the Furious Five,
Motorama,
Todd Terry,
DJ Style,
Davy DMX,
Bang on a Can All-Stars,
Masters at Work,
MDC,
Audionom,
the Sonics,
Siouxsie and the Banshees,
Scott Walker,
Massinfluence,
These Immortal Souls,
Anthony Braxton,
Shuggie Otis,
FM Einheit,
Khruangbin,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.